The Cymbal Book p173 mentions the Super Zanchi:

http://books.google.co.nz/books?id=AaSH0JLRct8C&pg=PA173&lpg=PA173&dq=cymbal+book+super+zanki&source=bl&ots=eFdtXcJkLn&sig=Lc7k8ZVmbCVz8WE4ou4tImgtcFs&hl=en&sa=X&ei=th1SUr7hLY2jkAXXrIGYDA&ved=0CC0Q6AEwAA#v=onepage&q=cymbal%20book%20super%20zanki&f=false

Note that near the bottom of p173 there is a heading Vibra and it then goes on to talk about B8 cymbals. The heading Vibra was misplaced in the layout as far as I can tell. If you read on the next page they mention Vibra being used long term (since the 1950s) for their hand hammered range. Nothing to do with the B8 budget range.

I've noticed a few other layout issues in The Cymbal Book which seem to have caused issues over the years when people don't read every word carefully. Including me.

It's worth noting also that the "Rosetta Stone" (as Drumaholic called it) actually comes from Ronn Dunnett in his pictorial essay on a trip to Italy.

*** edit ***

After much discussion, I've edited this back to what I believe we can have consensus on:

Super Zanchi is an Italian cymbal. After that everything seems to be disputed.

The number of independent foundries seems to be 5 or more. I can't tell if that means Super Zanchi were likely to be cast in the UFIP factory finished at Zanchi, or cast at Zanchi. What it means for something to be on the "Rosetta Stone" is uncertain. See this discussion:

http://www.vintagedrumforum.com/showthread.php?t=6251&highlight=dunnett+rosetta+stone

Thanks,zenstat!:)

For those with a really keen interest in the Italians, there is a relatively new book out

http://www.agendaproduzioni.com/editoria%20luca%20luciano.html

which I haven't invested in yet. I spent my book budget on Rob Cook's new Gretsch Book (with the K Zildjian stamp section by Bill Hartrick aka Drumaholic).

Clearly, there were more cymbal makers in town ,as well as elsewhere in Italy, than uFip and Tosco. The fact that there was collusion between many of the makers, as a way of maintaining a healthy market share and staying in business is easy to see , if one reads the information accurately and more importantly handles and plays the cymbals ,themselves. Probably uFip, did engage in the partial or complete manufacture of cymbals branded as some one elses, probably other makers ,used the facilities at uFip sometimes . What a surprise---it was a co-op. Hard references are almost always impossible to obtain and moreso, impossible to verify. What kind of a reference is the so-called uFip rosetta stone? It's a graphic illustration of cymbal brands, all deemed to be made in Italy, that's all. What kind of reference, is a quote taken from The Cymbal Book? It's a quote, that's all, with no inflection in the words, no pauses , no tongue in cheek smile, no oblique linguistic touch, no concealed truth , whetted by a clever wordsmith; but I guess, compiling dry words and data , then categorizing it, is all that is required , in order to get to the truth of something, in some people's minds.

The playing of hundreds of Italian cymbals and critically examining their musicality and their physical details? Why that's an absolutely useless way of determining anything about them. One should read books and examine more charts and graphs, if more information about cymbals is required. Playing them and assessing their qualities and comparing those against other similar types? Why that's just superficial ,subjective jibberish! We need statistics, and while we are at it , let's have some more lies and damn lies.

I realize that in the world of academia, references are all that are required in order to get an idea to pass muster.The more the merrier. It's an established system of checks and balances , designed to rule out speculation and hyperbola.....but the system breaks down , when the references are unreferenced, as almost all of the spurious references related to cymbals are. So, as musical instruments, there are ways of viewing cymbals in reference to each other, first hand. It really is the primary way , of assessing them and then and only then can the written references, the graphic illustrations , the hearsay or statistics be of much value at all. Experience is the best teacher.

I think I've mentioned the following conversation before, but I decided to go back and quote, so as not to miss anything.

This past year I have contacted the UFIP plant on several occasions when I have had pictures of supposed UFIP cymbals, asking if this indeed appeared to be one of theirs. On June 13th of this year, Alberto Biasei wrote me back with the following, [SIZE="2"]"As you probably know, during the years between 1940 and 1960 there were about 4 or 5 different small foundries in Italy, and all of them were used to engrave on their cymbals 'Made in Italy'."[/SIZE]

Mr. Biasei references FOUNDRIES, not just companies. There may have been many more artisans ordering castings and finishing them on their own. It really makes determining the origins on certain Italian made cymbals much more complicated than anyone of us would hope.

Probably just wise to say "Made in Italy " and Forgettaboutitflower

[ame]http://www.youtube.com/watch?v=Zf0ZyoUn7Vk[/ame]

Excellent to hear this info again. Thanks Jeff. This is how one documents the history. For me there is a difference between discussion of cymbal company history and playing and appreciating cymbals. Both are valuable, and I'm always happy to hear descriptions and experience with cymbals (and sound files and pictures Jumping2). And I'm always happy playing my UFIP cymbals too.

Can anybody shed more light on Super Zanchi since this was the specific question? I've never seen one. Calfskin? Jeff? Anybody?

Sorry, I can´help. None of my 10 Zankis are Super Zankis (or Zanchis).

Jon.